Nightwing #100 // Review
Dick Grayson is about to get a job offer from Diana and Clark. Given the fact that they are two of the most prominent heroes in the DC Universe, it’s kind of a big ask. Bruce knows this. Before he can get the offer, though, he’s going to need to guard Blüdhaven against the mother of all prison breaks. Not a bad way to celebrate Nightwing #100. Writer Tom Taylor opens a whole new chapter on the life of Grayson in an issue brought to the page by Bruno Redondo and a ridiculously large number of guest artists. The art is a big mess in places, but the story is largely well-modulated when it’s not too busy being rushed.
Blüdhaven Private Prison is being invaded. There’s a masked man who is freeing all of the prisoners. The city has named him Heartless. He’s looking to cause a little chaos. It shouldn’t be as easy as it is for Heartless, but the facility in question is a for-profit prison run by people who aren’t terribly interested in anyone’s safety. It’s going to be hell, but Nightwing has some pretty powerful friends who don’t mind helping out. And like any good party, there are going to be friends showing up who might not have even been invited.
Taylor has a lot of story to tell in about 50 pages. The action of the prison break feels a bit rushed in favor of advancing Grayson into his next life. The action works pretty well, though Grayson leading the Titans into battle against the villains of Blüdhaven doesn’t quite have the impact that it should. The scene between Dick, Clark, and Diana in the ruins of The Hall of Justice holds a remarkable amount of weight. Honestly, the entire 50 pages could have rested comfortably between that, Bruce, and the grave of Alfred. Taylor might have tried for a little too much, but the issue holds together pretty well nonetheless.
Redondo’s art is as impressive as ever. Too bad there are so many other people working on this chapter. There are five other artists. There are five other inkers. It’s fine. Really. The transitions between artists can feel a bit jarring in places. Any one of the artists would have been good for a single issue, but collectively it kind of feels like page and panel are trying to pull in a decent UHF signal on an old cathode-ray tube. Every now and then, Redondo’s art returns and the signal feels fine. The rest of the artists on the book deserve better.
The new direction for Grayson is actually a really cool progression for the character that honors where he’s been while looking forward to his future. The weight of the issue seems thrown in too many directions to be totally satisfying all the way through, though. Had there been more lead into the big change, it would have made for a much more satisfying 100th issue.
